Prem Keetanu review: Veer Pahariya's preachy drama fails as a modern rom-com
Director Apoorv Singh Karki's Prem Keetanu kicks off at Delhi's SIT college, where engineering students Vishal (Veer Pahariya) and Suhani (Aafiya Sayed) prepare for their professional debuts. While Suhani secures a coveted placement at a forward-thinking IT (Information Technology) firm led by Ranjeet (Aparshakti Khurana) — a boss who encourages out-of-the-box thinking while quietly nursing a liking for her—Vishal faces rejection. Determined to carve his own path, Vishal pivots toward GRE (Graduate Record Examinations) and TOEFL (Test of English as a Foreign Language) preparations for higher studies in the United States.
The story gathers momentum when Vishal and Suhani cross paths post-graduation at a wedding attended by Ranjeet. As mutual affection develops between the lead pair, Ranjeet’s growing jealousy and Vishal’s deep-seated insecurity regarding his peer's corporate status trigger a domino effect. What follows is a chaotic series of misunderstandings, emotional heartbreaks, and bruised pride.
Where Prem Keetanu attempts to distinguish itself is in its sociopolitical discourse. Co-writers Girish AD and Deepak Kingrani embed extended monologues addressing toxic masculinity, the fragile male ego post-rejection, women’s agency, and the misogyny stemming from being "friend-zoned." The film attempts to champion a woman's right to choose a stable partner without societal guilt, highlighting the immaturity of grown men coping with heartbreak.
However, these progressive lectures feel heavily grafted onto a storyline that ultimately surrenders to traditional Hindi cinema tropes. In attempting to tick every modern box — from insecurity and gender dynamics to standard rom-com melodrama—the narrative loses its direction. The screenplay meanders through repetitive emotional beats without establishing a clear thematic destination.
Veer Pahariya commits fully to his role, pouring genuine energy into sequences requiring vulnerability, rage, and heartbreak. Despite his earnest efforts, Pahariya is restricted by a poorly conceived character arc that feels derivative of older Indian and Hollywood romantic comedies. Debutant Aafiya Sayed turns in an impressive performance in emotional scenes despite the screenplay's indecisiveness. Where Sayed falters, however, is in her dialogue modulation and emotive range, struggling to maintain conviction during crucial dramatic beats. Unfortunately, the lead pair fails to ignite any palpable on-screen chemistry, rendering their romantic trajectory flat.
Aparshakti Khurana, known for his nuanced work in projects like Berlin and Jubilee, is largely underutilised in a cliche jealous-boss archetype. The true standout is veteran actor Rakesh Bedi, who follows his memorable turn in Dhurandhar with another scene-stealing performance, serving as the film's primary saving grace. Nikhil Vijay as Pahariya's partner-in-crime and loyal friend gives it his best shot but gets limited screen time.
Director Apoorv Singh Karki delivers a classic case of old wine in a new bottle. The direction relies heavily on dated visual templates, resorting to standard slow-motion shots and dream sequences that fail to elevate the storytelling.
Technically, the film remains uninspired. Cinematographer Arjun Kukreti delivers a flat visual landscape devoid of memorable framing. On the musical front, Annkur Pathak’s score paired with Sachin Urmtosh’s lyrics produces a forgettable album that fails to offer a single lingering track.
Prem Keetanu sets out to critique modern relationship anxieties and male entitlement, but its over-ambitious preaching is undermined by a confused plot and stereotypical writing. Despite decent efforts from its lead cast and a solid supporting act by Rakesh Bedi, the film collapses under the weight of its own narrative contradictions.- EndsRead more | Mahaprabhu Jagannath review: A devotional saga celebrating victory of good over evil
